LexPhil Ushers in a ‘Culture of Curiosity’

In the grim and gloom of a particularly rainy September, the Lexington Philharmonic prepares to debut their 2017–2018 season. The first concert is titled, ironically, Bright. The season opening, held this Saturday (September 16th) at the Singletary Center for the Arts, has an energetic and bouncy program. In that sense, Bright’s place in the larger 2017–2018 Philharmonic season is like an opening fanfare to a  larger symphony: energetic, full of life, and the right mix of excitement and intrigue to keep listeners interested.

As the orchestra prepares to sound out its audience for the season, I spoke with the lead conductor and Artistic Director of the Lexington Philharmonic, Scott Terrell, about the upcoming concert, and about young people’s place in the concert hall.

The most notable feature of the program for Bright is the age of many of the performers. The featured soloist, pianist Joyce Yang, is a young and rising star in the classical music world, and part of the generation of young soloists who are redefining the concert hall. Maestro Terrell calls her part of “the changing face of music.” Her animated and expressive playing is a far cry from the stentorian proclamations of Gould or the other old masters of the form.

Yang will be playing the Grieg Piano Concerto. Even in a genre that is known for emotive solos, the Grieg is a particularly animated piece. (You can hear a performance of the concerto, in this case performed by Arthur Rubinstein, here to get an idea of the emotional range of the piece.) As Maestro Terrell notes, the Concerto is “a thrilling piece and a challenge for the soloist” to perform.

But Yang will not be the youngest of Saturday evening’s performers.

For the large-scale work Daphnis et Chloe, premiered over a century ago, the Philharmonic has selected the Suite No. 2 to perform. To do so, the orchestra has partnered with several area schools, including Lafayette High School. The collegiate choirs of Asbury University and Eastern Kentucky University are also joining the Philharmonic for the performance of the Daphnis et Chloe Suite. Inviting these choirs to perform with the Philharmonic, Terrell tells me, is “building audiences both on stage and as years progress.”

Terrell thinks of the audience as part of a broader community. While the old-fashioned idea of separation between performers and audience has fallen out of fashion, Terrell wants the Philharmonic to remain “ever-flexible and always relevant” to the wider community. To that end, the soloists for this season collaborate with the orchestra to serve as “ambassadors” to the world for their music, says Terrell. The incorporation of the young choruses for the performance of Daphnis et Chloe is a clear example of this musical diplomacy.

Inevitably, talk of younger performers invites talk of younger audiences. The symphony has an unfortunate reputation as a gathering place exclusive to the elder generation. While the Singletary Center, where the Philharmonic performs, is located on the campus of the University of Kentucky, a symphony is not a social event for the college on the level of a football or basketball game or Greek gathering. Nevertheless, Terrell says that the Philharmonic “is not a museum piece.” He emphasizes that there is an “openness and receptiveness of [the Philharmonic’s] audience” that makes the art of making music exciting. The Philharmonic takes full advantage of that receptiveness, he says, with the goal of creating a “culture of curiosity” among the audience. Toward that end, every concert this season will contain at least one piece by a living composer.

For Bright, that contemporary piece is a (literally) colorful composition. Michael Torke, an American composer, wrote Bright Blue Music in 1985, and the style of the piece—harmonically direct and simple, with a clear single development—reflects the emergence of American minimalism in the late twentieth century. Throughout the program, then, the Philharmonic will undertake a backwards motion, almost like a dive: from the contemporary sounds of Torke, through the early twentieth century impressionism of Ravel, and stop at the unreconstructed romanticism of Grieg along the way. In short, the concert will move quickly through a variety of tastes, and should contain something to satisfy even the most stoic listener.

The Lexington Philharmonic will debut the 2017-2018 season on September 16th, in a 7:30 PM concert held at the Singletary Center for the Arts. Tickets range from $25—$75 dollars, with $11 student tickets available from the day before, and at the door.

(All photos by: Richie Wireman)

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